identity

It remains illegal in California for a school district to force teachers and other staff to alert parents about their child’s gender identity, but parents must be told when they ask about it, a judge ruled Tuesday in a widely watched case dealing with parental rights.

San Bernardino County Superior Court Judge Michael Sachs, weighing both state law and a Supreme Court order, rejected an attempt by the Chino Valley Unified School District to reinstate its mandatory parent-notification policy.

“There is no requirement that the school district, on its own, after learning of transgender issues, contact parents and let the parents know of them,” Sachs said in court. At the same time, “in the event a parent makes an affirmative inquiry of a minor child regarding their status, whether transgender or not, that will trigger an obligation by the school district to respond.”

Under the Chino Valley policy, approved in July 2023, a school would have to notify parents of any request by a student “to use pronouns that do not align with the student’s biological sex or gender listed on the student’s birth certificate or other official records.” The same notification rules applied to the use of bathrooms or participation in sports.

State Attorney General Rob Bonta immediately challenged that policy in court and it was put on hold. In October 2024, Sachs had ruled that most of the policy was discriminatory — and therefore illegal — because it singled out a group of students for treatment that was different than the treatment of other students.

As an example, he cited the possibility that a student would come out confidentially to a school counselor — and then that counselor would immediately be required to alert the parents, even against the student’s wishes.

A policy that could result in mandated actions by a school employee continues to conflict with the intent of a 2025 California law that barred a school system from forcing teachers to tell parents about a student’s gender, Sachs concluded.

“That’s inappropriate and it’s still inappropriate,” Sachs said Tuesday.

New rules, new rulings

What has changed in the legal landscape, he added, is what happens when a parent requests information about their child’s gender status or sexual orientation or any number of other issues affecting that child.

Trial court rulings — affirmed by a Supreme Court majority in March — said that parents have the right to demand information about their child’s gender identity at school. School staff cannot lie to parents — including matters that a student wishes to conceal from their parents.

Attorney Emily Rae, representing Chino Valley, said Sachs was correct to acknowledge that parents had the right to information about their child, but that his ruling did not go nearly far enough — and that parent notification should be mandatory statewide.

Chino Valley also has a separate pending court challenge to the 2025 California law, contending it is at odds with the direction of the Supreme Court, which should take precedence.

Dept. Attorney General Delbert Tran, representing the state, declined to be interviewed Tuesday, but in his exchanges with Sachs, it was clear that he saw the ruling as about as much of a win as would be possible, given the Supreme Court’s recent directives.

He also said that supporters of parent-notification policies misstate or misunderstand the parent-teacher relationship that exists in practice and under state law. Parents, he said, have the legal right to observe classes and meet with teachers, and the expectation is that teachers will communicate freely and often with parents about a child’s needs and progress.

Chino Valley champions its view of parent rights

Chino Valley, a school district of 26,000 students in San Bernardino County, has adopted and defended a series of policies favored by parent activists, religious conservatives and President Trump under the leadership of school board President Sonja Shaw, a Republican currently running for the office of state superintendent of public instruction.

Under her leadership, the school system has taken a stand for a flag-ban policy in schools and classrooms, widely viewed as targeting gay pride flags; for removing school library books with passages deemed to be sexually obscene, and for working to ban trans athletes from girls sports and girls locker rooms.

Shaw attended Tuesday’s hearing and criticized Sachs’ reasoning.

“When he talks about a parent has a right to know now only if they ask, how do you know you’re being lied to or secrets being kept?,” Shaw said after the hearing. “That absolutely makes no sense.”

Shaw said the judge should have done “what’s right: Upheld parents’ constitutional right to the upbringing of their own child.”

In anticipation of Sachs’ ruling against the original policy, the Chino Valley school board revised the policy, expanding it to all students. Under the current policy, if any student “requests a change to their official or unofficial records, parents/guardians shall be notified to ensure that parents/guardians are informed and involved in all aspects of their child’s education.”

In other words, if a straight male student named William suddenly decided he wanted to be referred to as Robert on the class roll sheet — an official record — his parents would be notified.

In 2024, Sachs accepted this version of notification because students were not singled out for different treatment on the basis of their gender.

That form of the policy remains in effect.

Since that time, Shaw said, the district has been “transparent” with parents regarding important issues in the lives of their children. And Tuesday’s ruling would not change that.

Moving forward, she added, the district could assertively ask parents if they want to be informed about their child’s gender issues and that permission — if given — would continue to apply as the student proceeds through grade school.

Inside the Universalist Unitarian Church of Riverside, a line of masked people filed into the red-lighted chapel, one by one, to take part in the rite of confession.

The private booth was framed in flowers, and rather than a priest listening inside, it was a microphone recording their confessions, to be played at an upcoming art exhibition. The brick triangle-roofed church that held the booth has stood since opening in 1892; that night, it was the site of a masquerade, or as Riverside artist Perry Picasshoe called it, the “Masqueerade.”

Picasshoe, whose real name is Neveah Marquez, hosted the event, which had an entirely LGBTQ+ guest list and one requirement: Bring a mask, whatever that looks like to you.

Marquez, a 26-year-old transgender woman robed entirely in red, stood at the pews and danced to the experimental electronic DJ sets and drag performances as guests entered in masks that ranged from papier-mâché deer antlers to collaged photos of eyes and lips.

The event came as a celebration ahead of the Riverside native’s first solo exhibition, “SagradX,” which will open Saturday at Riverside Art Museum and remain through Jan. 31.

The recorded confessions, layered over one another until they become an unintelligible cacophony, represent just one piece of the 25 paintings, photographs and interactive displays in the exhibition. The show explores the meaning of “sacred” as Marquez documents her most private places and experiences, and asks viewers to consider what they hold sacred.

The exhibition, she says, began with heartbreak.

Neveah Marquez (Perry Picasshoe), 26, sits inside the Riverside Art Museum.

(Carlin Stiehl / For De Los)

“The first time I started thinking about sacredness … was when my ex-partner brought somebody into our bed,” said Marquez.

“I was crying, distraught, and drove over to these hills over Lake Mathews [in Riverside] and I realized: The bedroom was sacred to me. That’s why it hurt so much. And I started thinking, if it wasn’t sacred to them, how do we decide what is sacred to each of us?”

The very headboard of that bed sits in the exhibition; on it, Marquez painted fairy-tale creatures representing the lovers gallivanting across the woods.

While Marquez’s experience with betrayal sparked the idea, the exhibition explores sanctity in many different scenarios: In one, the artist plays with the concept of the digital safe space by inviting guests to look through her phone as she is tied on a handmade iron-wrought cross. Inside the exhibition space, she uses a small painter’s brush to slowly paint the white walls red over the course of the show.

In curating the exhibition, Marquez began to look inward, painting and photographing herself in ways she never had before: through the lens of femininity. She lived the previous 26 years of her life as a man, growing up religious to the point that she once considered becoming a priest. The paintings serve as portals into a part of her that she long held inside.

“I describe it like having blurry vision your whole life and not realizing how clearly you can see, until you put glasses on,” Marquez said. “That’s how painting myself as a woman felt.”

Neveah Marquez (Perry Picasshoe) considers what is sacred.

(Carlin Stiehl / For De Los)

Though she initially identified with her male birth name, the more she painted herself in Venus-like, feminine poses and with longer hair, her understanding of her identity shifted. Illuminated by her signature scarlet red clothing and tastefully shrouded in sheets, the soft expression on her face was inspired by Raphael’s “La Fornarina.”

“I wasn’t thinking much of it in the moment, but as I kept painting these portraits, I was thinking a lot about myself and thinking about gender and my identity,” Marquez said. “Through my art process, I realized: ‘Maybe I would be a pretty woman.’ That’s what scared me the most from transitioning, was not feeling like I would be beautiful enough.”

In “SagradX,” Marquez’s body is documented vulnerably; easing into her own identity becoming a painfully honest artistic process, which the audience is now invited to watch.

“I feel like I don’t paint very often because when I do, it’s just so emotionally intense. Like when Olivia Rodrigo wrote that she’s scared of her guitar because she couldn’t lie to it, that’s how I feel about painting,” Marquez said. “I can’t lie to my painting.”

Neveah Marquez (Perry Picasshoe) wears long, flowing red clothes.

(Carlin Stiehl / For De Los)

Aside from her self-portraits, Marquez includes photographs of her ice blocks project, in which she placed 25-pound blocks where immigration enforcement raids took place in the Inland Empire last year. These were once safe places that she says have been “desecrated with fear.”

Marquez’s personal journal, which documented her inner joys and struggles over the last year, is also open on a table in the exhibition for guests to read through, draw over, or tear. For Marquez, “SagradX” was the catalyst to “let everything out.”

“If the show is about vulnerability, I need to practice that for myself as well. Otherwise, you would see in the work that there’s a blockage, you can sense when artists aren’t fully honest,” Marquez said. “I want people to question, ‘What is sacred to you?’ If I give you access to something sacred to me, what will you do with that?”

It’s one of the most famous cold cases in British history but could the killer have finally been uncovered

It’s the most famous cold case in the world more than 100 years after the serial killer Jack the Ripper caused terror in the streets of East London.

Carrying out his heinous crimes over the space of just four months, the brutal murderer, who targeted sex workers and killed them in a truly horrifying way.

Not content with merely slitting their throats, the cold blooded murderer horrifying mutilated them, removing several organs in his twisted killing spree.

Operating in and around Whitechapel between August and November 1888 – one of the poorest London areas where crime, depravation and starvation were common and law enforcement often turned a blind eye, the killings came to an abrupt end with the death of Mary Jane Kelly.

The case continues to fascinate and with that in mind – as someone who has lived in the east end of London for the past decade – I decided to learn more about this most infamous of killers.

One rainy Saturday I joined the Empire Tours Jack the Ripper tour, which takes in the sites of the killings and examines the fascinating, and often tragic, stories these streets still have to tell.

Led by our expert tour guide, Rebecca, we started off at the site of the first murder, Mary Ann Nichols, who was discovered in the early hours of the morning with her throat slit so badly she was basically decapitated, and some of her sex organs removed. She was found by a butcher on his way to the nearby Spitalfields Market to begin his working day – and he was promptly arrested.

Starring at what is now a fairly modern street, the benefit of looking at this on a tour immediately becomes apparent. Not only are parts of the pub where Mary Ann was last seen still there (but if you blinked, you’d miss them) the tragic story of her life were painted in all its haunting glory.

Divorced and forced into sex work to survive, Mary Ann was one of the many people living in Whitechapel forced to call a doss house home. With no street lights and pitch black alleyways where violent crimes were often committed, it’s easy to see how a killing could take place – although not one as violent and surgically skilled as hers.

As we made our way to the site of the second killing – Annie Chapman – the guide painted a vivid picture of how the streets will have looked and the conditions people were forced to live in. Found in very similar circumstances to Mary Ann, Annie was another sex worker forced into a life on the streets and was brutally killed on September 8, 1888.

Elizabeth Stride and Catherine Eddowes were Jack the Ripper’s next two victims, both killed on September 30, 1888. Elizabeth wasn’t mutilated in the same way as the other four victims are is a theory the killer was interrupted and forced to flee the scene.

His thirst for a brutal murder unquenched, he passed just into the neighbouring city of London to kill Catherine. Horrifyingly, a witnesses claimed to have seen the victim entering Mitre Square with a man in the hours leading up to her death. Again, she had had her throat slit all the way round and several of her organs removed.

Jack the Ripper’s third and final victim was Mary Jane Kelly and it was his most sick and brutal killing yet. Her horribly mutilated and disembowelled body was found in the single room she rented in Whitechapel on November 9, 1888.

Her faced had been “hacked beyond recognition” and her throat “severed down to her spine”. Her abdomen had almost completely been emptied of its organs with her uterus, kidneys and one breast placed beneath her head. Mary Jane’s heart was missing from the crime scene.

At the time, many theories were published by the press – including the ritualistic nature of the killings as several of the victims had had their intestines placed on their left shoulder. The surgical expertise of whoever had carried out the murders was also apparent, showing they were unlikely to have been carried out in a rage or crime of passion. Each of the murders was also efficiently done, with one taking just 15 minutes, including removing organs.

However, despite no one charged for the murders, the police at the time closed the investigation just one week after Mary Jane’s death. Officers had even been sent two letters, both with different handwriting, claiming to be from the killer himself. One signed it, Jack the Ripper, and so the legend was born.

Now, more than 100 years later, one suspect has been named as the possible killer – Mary Jane’s former boyfriend, Joseph Barnett. He was said to be deeply in love with her and was desperate for her to leave her life as a sex worker behind.

There is a theory that he began his killing spree in the hope it would terrify her away from her work, however Mary Jane was not to be deterred and eventually the couple split up in October 1888.

If this theory is to be believed, Barnett tried to win Mary Jane back but was unsuccessful until finally, he accepted they would never be together and in a rage turned up at the single room she called home. This becomes all the more compelling because she was the only victim killed indoors and Barnett would have had a key.

Several eye witness accounts of those who saw the women before they were killed described a man who could have been Barnett, and he also lived in the heart of Whitechapel. He also worked as a fish monger and so would have had some skill with a knife, which he could have used to carry out the surgical dismemberment of his victims.

This theory is explored in the book, Jack the Ripper: The Simple Truth by Bruce Paley.

However, you’ll have to head on one of Empire Tours Jack the Ripper tours to find out.

Empire Tours also offers a Buckingham Palace and Changing of the Guard experience, a Churchill’s War Rooms and World War Two tour, and a London’s gangster history tour.

An aspiring Los Angeles-area rapper was arrested on Wednesday and charged in connection with a multimillion-dollar check-cashing scheme, according to the U.S. Department of Justice.

Ada William Obayuwana of Quartz Hill, who goes by “ColdheartedAC” and “AC,” and two others were charged in a 25-count federal grand jury indictment alleging that they illegally possessed more than 50 stolen U.S. Treasury checks and hundreds of other checks belonging to individuals and businesses worth more than $8.1 million, then cashed or attempted to cash them at lenders throughout Southern California.

Albert Tai Vu, of Westminster, and Cassandra Marie Murrillo, of San Diego, are the other two defendants charged in the case.

According to the indictment, between April 2022 and December 2023, the trio obtained the stolen checks, some containing tax refunds and veterans’ and Social Security Administration benefits, then forged endorsements or modified names and addresses to steal the money.

The trio is accused of opening bank accounts to receive the money. They also used business documents to impersonate the identities of the victims connected to the stolen checks and deposited the money into bank and credit union accounts across Los Angeles, Orange and San Diego counties, the indictment says.

During this period, Obayuwana allegedly tried to cash at least three Treasury tax refund checks worth $382,109 and was successful in cashing one, withdrawing $229,109, federal authorities allege.

In December 2023, Obayuwana “possessed in his car in Oceanside more than 100 stolen or fraudulent checks, cumulatively worth more than $6.1 million,” states the indictment. Among the checks were 48 stolen Treasury checks worth some $2,555,417 in tax refunds, veterans’ benefits,and Social Security benefits.

Obayuwana was able to cash eight of them worth about $1.7 million, according to federal investigators.

Vu tried to cash at least six Treasury checks totaling $2.15 million and successfully cashed two tax fund refunds worth $772,159, the indictment says. He also allegedly cashed a pair of cashier’s checks, each valued at $250,000, at an Anaheim bank and used money from one to buy a Range Rover and the second to pay Murillo.

Murillo is accused of trying to cash at least two checks worth $60,193, successfully cashing one for $31,405.

Following his arrest, Obayuwana remains in federal custody. He is charged with nine counts of bank fraud and faces three counts of delivering stolen Treasury checks and one count of aggravated identity theft.

Vu, who was arrested Thursday, is charged with five counts of delivering stolen Treasury checks, four counts of money laundering and two counts of aggravated identity theft.

Murillo, who is expected to surrender to federal authorities in Los Angeles on Monday, is charged with an additional count of delivering stolen Treasury checks.

Christian metal band Demon Hunter is suing Netflix, alleging trademark infringement associated with the streamer’s hit film “KPop Demon Hunters.”

The lawsuit was filed Tuesday by Hyde Lane, the corporate entity for Demon Hunter, against Netflix, Netflix Studios and AEG Presents, the live-entertainment division of AEG, with claims that the defendants have “created a substantial likelihood of confusion” among consumers.

The metalcore band — which was formed in 2000 out of Seattle by brothers Ryan and Don Clark — claims the success of the 2025 urban fantasy flick has “eclipse[d]” the group’s “established identity” and “commercial fate,” especially as plans for a KPop Demon Hunters global concert tour were announced in May in partnership with AEG Presents.

Hyde Lane originally trademarked “Demon Hunter” in 2014 under entertainment, namely live performances. To date, the band has released 12 studio albums and amassed more than 348,000 monthly listeners on Spotify. Several of its early music videos, including popular tracks like “Dead Flowers” and “Someone to Hate,” have garnered millions of views on YouTube.

In 2022, the company submitted other trademark protections for recorded music and merchandise.

By comparison, Netflix filed 10 applications under the U.S. Patent and Trademark Office for “KPop Demon Hunters” for merchandise purposes starting in August 2025.

Hyde Lane has “been forced to surrender control over its commercial identity simply because Defendants have greater resources and a larger marketplace footprint,” the lawsuit states.

In the suit, the plaintiffs cite instances where there has been “consumer confusion.”

On Feb. 26, 2026, someone requested a refund after purchasing $500 tickets to a Demon Hunter show in Albany, N.Y., believing it was for a KPop Demon Hunters concert, according to the suit. “If I dont get it refunded I will not be able to purchase tickets to the actual ‘K pop demon hunters show,’” the email read.

On March 16, 2026, a producer from “Inside Edition” emailed Demon Hunter manager Ryan J. Downey to request an interview with songwriter Yu Han Lee (of KPop Demon Hunters) following the Oscar win for original song, the lawsuit states.

Additionally, the plaintiffs say the Christian band has been incorrectly tagged in connection to various KPop Demon Hunters content.

“Due to Defendants’ wrongful actions, Demon Hunter’s established identity is becoming increasingly obscured within recorded music, live touring and merchandise-related channels due to overlapping use by the KPop Demon Hunters brand,” the lawsuit states.

Hyde Lane is requesting Netflix and Netflix Studios be held liable for infringement, although no specified amount was listed in the suit.

The complaint arrives a year after the 2025 animated musical “KPop Demon Hunters” — which centered on Huntrix, a music trio who hunt demons — reached unprecedented heights, becoming Netflix’s most-watched animated original movie. Earlier this year, the film’s focus track, “Golden,” became the first K-pop song to win an Oscar.

Plans for the “KPop Demon Hunters” sequel are already underway as the lawsuit makes its way through the California court system.